Dark Chronicle Premium Arrange :: Review by Chris and Harry

	Album Title:	Dark Chronicle Premium Arrange
	Record Label:	Team Entertainment
	Catalog Number:	KDSD-00034
	Release Date:	April 21, 2004
	Content:	1 CD - 12 Tracks
	Purchase:	Buy at Game Music Online

Overview

Collaborative arranged albums seem to appeal to freelance composers that once worked for Square. The Mahou Shoujou Ai 2 "transformation" Full Arrange Album, Street Fighter Tribute Album, and Phantasy Star Online Episode I & II Premium Arrange are all fine examples of Square composers working on such albums. None of them quite maintain the consistent quality, diversity of styles, and melodic flair of the Dark Chronicle Premium Arrange, however. The talent and background of the arrangers is, by far, the most important reason why this is the case, as Tomohito Nishiura's original material, though melodic and enjoyable, lacked sophistication and originality. Together with veteran ex-Square employees Yasunori Mitsuda, Yôko Shimomura, and Kenji Ito, Grandia's Noriyuki Iwadare, Star Ocean's Motoi Sakuraba, and Super Sweep's Shinji Hosoe all feature, making the album seem instantly promising. Each arranger is designated two pieces each (apart from Yasunori Mitsuda, with just one), and they manage to experiment to create a score that features a wide variety of genres ranging from rock to electronica all the way through to Latin dance. Their arrangements, while mostly retaining the melodic flair of the original material, are incredibly expansive and the arrangers are rarely shy when it comes to being creative. To make things even better for the album, Square Enix's The Black Mages actually make an appearance in one track, which should be a source of delight for all those people who enjoyed their solo albums.

Track-by-Track Reviews

1) Neverending Adventure (Rush's Theme)

Two words aptly describes this one: unique grower. It is essentially an a capella vocal theme, with some light percussion accompaniment, and it undergoes two repeats, except with the second repeat being a little more intense. At first, it is very easy to develop a negative opinion about it, since the vocal style performer Eri Kawai employs isn't particularly accessible and Mitsuda's arrangement can sound rather bland at first. Still, it gets better, as Kawai's voice eventually finds a niche in one's heart that makes it surprisingly addictive and Mitsuda's harmonies soon become appealing. Despite about five separate vocal lines being featured in the piece, Kawai is responsible for performing each line, meaning the vocals would have to have been pre-recorded many times over to achieve the sublime effect eventually created. The vocals are layered in an extremely unique way and correspond with amazing intricacy throughout, creating some gorgeous harmonies, particularly once the piece intensifies. Gen Nagahara's drum beats, though seemingly simple, are actually fairly complex rhythmically and create a wonderful foundation upon which the theme can develop from. The only major flaw with this one is its placement in the album; it is a misleading introduction, since no other theme shares a similar style to it, and it would have been much more suitable as a finale. Still, all in all, this one is an odd little gem and a testament to Kawai's versatility and Mitsuda's ingenuity. (9.5/10)

2) Moon Flower Palace

Shinji Hosoe, head of Super Sweep, is one of the greatest electronica artists in the video game music industry and this piece is an apt reflection on his abilities. He effortlessly transforms Tomohito Nishiura's somewhat incoherent and harmonically dull original material into a well-rounded piece of techno music. Hosoe successfully combines the standard techno features of a 4/4 fast beat, ambient sound effects, and driving percussion rhythms with the original's rich melodies. This not only ensures that the original piece suits the techno genre like a glove, but also makes certain that the theme creates a huge amount of melodic beauty. The interludes, especially, are notable additions and these not only maintain the theme's sense of direction, but also add interest and variety throughout. As electronica, it will not appeal to all, but all collaborative arranged albums feature a variety of genres, some of which will satisfy a person's tastes, and others which will not. It's worth a try whatever, since it can easily change a person's negative taste in techno music. For those who do actually appreciate the genre, it should be especially pleasing thanks to its complex and multifaceted underlying nature. (10/10)

3) Dark Element

"Dark Element" is the lesser of two contributions from Motoi Sakuraba, but is extremely impressive nonetheless. Its most significant feature is the way its atmosphere constantly changes from being invigorating and aggressive, to being dark and ominous. The constant battle between these emotions represents both the determination and the fear of the heroes on the battle theme. The electric guitar solos create the feeling of adrenaline, thanks to their dominant, overdriven, and slightly aggressive sound. Their unrelentless pace and intricate passagework gives the sense of determination and makes the track very intuitive. In contrast, the more mysterious sections rely on slow-developing chord progressions, eerie synth vocal chants, and dark brass melodies. While the methods used to create such contrasts seem hackneyed, since Sakuraba uses them in many of his battle themes, the immensely creative way these two completely different styles are assimilated makes this track much more appealing, both on a musical and superficial level. This one does have flaws, however, despite all its creative merits. Probably the most significant of these is its ending, which feels anticlimactic and fails to make the huge build-up that occurs throughout the track seem significant. Furthermore, this one is very slow-developing, and, while this makes it more musically sophisticated, it could easily bore the less attentive listener. Still, all in all, it is definitely the atmospheric gem on the album, and makes the somewhat disappointing original a lot better. (9/10)

4) Sun

On close inspection of this arrangement, it is possible to see that it is just a longer version of the original theme with significantly improved instrumentation and use of voices. However, on even closer inspection, it is possible to see that Shimomura created an awesome build up from start to finish. Most know that Yôko Shimomura loves using percussion and this arrangement is no exception, as she uses a funky electronica beat that, like the arrangement itself, progresses and transforms dramatically as the piece moves on. The wailing voice samples in the original version were pretty unmemorable, due to their poor quality, but Shimomura uses real voice samples in her version and this magnifies their importance, allowing them to be the standout feature of the track. Alongside these voices, a wide range of instruments feature. The piano fares very well, and, as manipulating the instrument is one of Shimomura's strengths, it adds deeply to the mysterious nature of the track. The bagpipes create an enthralling image of an epic legend that has been passed down from generation to generation, adding a touch of uniqueness to the track. There aren't any major flaws in this piece, but it may get a tad bit repetitive, as Shimomura doesn't variate from the original track much. Still, "Sun" shows how incredible Shimomura can be, as this is probably one of the more diverse and captivating arrangements she has created. (9.5/10)

5) Moonlight Tango

Iwadare convincingly transforms Nishiura's catchy original into a piece of music that is truly reminiscent of an Argentine tango. It is performed by an orquesta tipica, a chamber group that is typically used to perform Argentine tangos, and comprises of a string section, a bandoneón section, and a rhythm section (drums, a piano, drums, and a double bass). Though it is incredibly like the original in terms of its melodic structure, the way Iwadare manipulates such instrumentation makes the piece much more mature and fitting. It is easy to distinguish that Iwadare arranged the track, due to the light-hearted mixing, trademark Iwadarian bells, and powerful but simple drum samples all featured. Compared to the original composition, this arrangement is much more fast-paced, and this is a significant advantage when it comes to creating a tango style and maintaining interest. While the melody grows a little repetitive and a few more original sections would have imrpoved the arrangement, Iwadare largely disguises this through the effective build-up of instruments, which leads to a very strong end. This may not be Iwadare's strongest arrangement on the album, but it is certainly a worthy adaptation that is worth listening to many times. (9/10)

6) Balance Valley

Nishiura found the inspiration for this track from Yasunori Mitsuda's most famous and renowned work, Xenogears, and this is evident due to the laid-back feeling that it created. It's because of these feelings that Nishiura created the timeless image of a balanced valley with beautiful scenery, though, in Kenji Ito's new arrangement of the theme, the majority of these images are lost and replaced with sad synthesized instrumental strings. Like every other composer who arranged a track on the album, Ito uses his signature style (an orchestral one, in this instance) and changes the acoustic lazy track into a decent orchestral arrangement. Unfortunately, the orchestral approach used seems completely inappropriate, as the calm mood synonymous with the original track isn't present any more and the lazy effect is overrun by the fairly sad string samples. That said, the sound quality is much better than its original counterpart, as the piano samples sound more heartfelt and emotional. Indeed, though it just about works on a stand-alone basis and should satisfy fans of Ito's work, it ultimately fails to create an image of a valley and calmness, which Nishiura originally pinpointed. (7.5/10)

7) Flower Garden

"Flower Garden" is the complete opposite to "Sun"; while "Sun" was quite vicious and 'in your face', this arrangement is calm, passionate, and emotionally moving. While the original was already well-developed and brilliant, the arrangement is more musically intelligent and charming, and this is partially due the superior instrumentation used and the clearer imagery presented. The piece begins flowingly with the harp, which paints a scene of a garden, and its beauty is simulated by a xylophone passage. After the introduction, a violin gently enters to play the main melody, and it sounds very Medieval-oriented, painting the image of walking around in a castle's grounds. The flute soon joins the violin and plays the main melody, and, like the violin, does a beautiful job at conceiving peace. Like "Sun," this piece progresses from a slow start to a strong finish, from the subdued initial sound effects to the grand orchestral finale, making it satisfying all-round. (10/10)

8) Stella Magic Temple

Kenji Ito has rarely experimented in the vast majority of his works. His main strengths are known to be in his darker themes, battle themes, and, of course, his arranged albums. After the mediocre arrangement that was "Balance Valley," Ito decides to arrange Nishiura's "Stella Magic Temple," a beautiful but simple composition that had the potential to be something wonderful, but wasn't developed fully. However, Kenji Ito decided to do the unimaginable. Instead of making this piece more complex and advanced than the original, like many of the other arrangements on the album, he decided to go for the opposite effect and transforms the arrangement into a dramatically simpler piece. In the original version, Nishiura used a small variety of instruments to portray the beautiful temple, but all that Ito uses here is a piano, a suspended synthesizer note, and a few chimes. It's actually quite beautiful when put into motion, as one can picture the characters wandering around a large temple covered in ancient vines and featuring flowing waterfalls. This is probably one of Ito's more thoughtful piano pieces, as he clearly put a lot of time and effort in its production and arrangement, and it is definitely a step up from "Balance Valley," making the piece his best on the album; heartfelt and simple, this arrangement is a winner. (8.5/10)

9) Flame Demon Monster Gaspard

Almost every Final Fantasy music fan knows who The Black Mages are, thanks to their two solo albums; however, their only arrangement to be officially released outside the two albums, "Flame Demon Monster Gaspard," is actually considerably less well-known. The track's introduction is widely considered to be its weakest point, since it takes a long time to develop and mostly consists of some predictable and repetitive imitative structures between the lead guitar and the keyboard. Still, when it gets going, the arrangement is very strong and the core of the track comprises The Black Mages' rendition of the main melody. Though fairly straightforward, the guitar-led interpretation is to-the-point, catchy, and enjoyable. Between each rendition of the main theme, a series of guitar solos feature, which are virtuosic, energetic, and easily the best feature of the track. Michio Okamiya and Tsuyoshi Sekito both get a chance to shine here and the intense solos that lead the track towards its conclusion are particularly memorable. Kenichiro Fukui's fancy keyboard interludes are also a strong feature and add to the track's variety. By the end of the arrangement, it is easy to feel satisfied, since everything before it is very impressive. Indeed, it's one of their better arrangements, combining melodic emphasis, solid solos, and lots of hard rock flair into one. Still, it is unlikely that the listener will be blown away by it; while it is one of their better contributions to game music, it is still not quite strong enough to rival their most reputable arrangements from their first album. (8.5/10)

10) The Dark Battle

Regardless of whether one loves or loathes Motoi Sakuraba, it is near-impossible to dislike this arrangement, so long as one has some affinity towards enjoying rock music. Unlike the previous track, it wastes no time with a long-winded introduction, since it opens with an overdriven guitar's interpretation of the main theme against some extremely ominous synth effects. The theme, already weird due to its inherent chromatic and dissonant nature, sounds hugely effective on the electric guitar and is continually built-up throughout the track through the employment of rapidly ascending chord sequences, relentless fast-paced drum beats, some continually increasing dynamics, and even a few "Highbrow"-esque piano runs. It ends up sounding utterly awe-inspiring and very intimidating, yet never grows repetitious, since there is so much contrast added to the track through the introduction of several original interludes. Most of these interludes are fast-paced and loud, leading to the theme building up more, and the incredibly impressive guitar solos, the first of which is heard at the 1:00 mark, particularly add to such an effect. There are several quiet interludes, however, one of which features synth vocals prominently, and these add a complete contrast to everything else going on. The most profound contrast of all, however, is at the 2:27 mark, when the rhythm of the track changes completely, a feature sure to intrigue any musicians out there. While the second half of the track is principally a repetition of the first-half, everything is subtly intensified and the conclusion is not a letdown. Clocking in at the 5:29, this arrangement is an incredible masterpiece and possibly the greatest arrangement Sakuraba-san has ever created. (10+/10)

11) Demon (Dark Cloud Main Theme)

Coming out fresh from his previous arrangement, "Moonlit Tango," Iwadare decides to take a different approach here. This time, he arranges Nishiura's already fantastic "Demon (Dark Cloud Main Theme)," but engraves his own signature flair and style into the new arrangement, making it superior in every way. The arrangement begins in a similar way to the original, with a fast-paced xylophone passage, though the instruments used are heavier and slightly distorted. Introduction aside, the acoustic guitar enters, which sounds much more realistic compared to the original, and the unforgettable verse to the main theme enters soon after. Shortly after the verse, the incredibly addictive chorus makes a triumphant entrance, and this passage features a sitar, some light strings, and the Iwadare's signature bells. After the chorus, an instrumental bridge passage enters, creating a short and relaxing break prior to the transition into best part of the arrangement: the ending. And what an ending it is with the reprise of the chorus and the use of more acoustic instruments; it almost sounds magical. Evidently, only a few arrangements can surpass this awesome track, and, with arrangements like these, it's no wonder that Iwadare is a fan's favorite. (10/10)

12) Time is Changing

Shinji Hosoe returns once again to conclude the album in an unusual way. This time, he chooses Nishiura's ending vocal theme, "Time is Changing," to 'technocate' and elaborate. The original was too plain and average to really stand out, but thanks to a few tweaks and shifts from Hosoe, this theme largely becomes a enjoyable arrangement with catchy beats and irresistible vibes. Admittedly, not many people like Hosoe because of his electronica craze and this track doesn't really differ from his own trademark style; however, it does add something completely new to the album that only someone who has been in the video game music industry for over twenty years can deliver. For starters, the primary instruments from the original (guitar and drums) fail to be utilised, with the healthy exception of the melody and the chorus. To add to this, around 80% of the arrangement is based on new passages or looped techno effects, making it even more dissimilar. Finally, although the chorus makes it into the arrangement, Hosoe smartly decided to tweak Chiyo Yano's voice so it becomes high and robot-like. One can barely make out what she is saying and it's an inspired effect. So how did the overall track turn out? It is successful and is true to the well-known style of Shinji Hosoe, but those who liked the original version will find it absolutely impossible to enjoy this arrangement because of how it is so heavily variated. Nonetheless, it certainly provides a fresh new perspective that no other composer could bring; people should try to enjoy it for what it is and not what they wanted it to be. (8/10)

Summary

One does not have to have liked or even have listened to the Dark Chronicle Original Soundtrack to appreciate this fine work. It stands out admirably in its own right and the arrangements generally seem much more natural and sophisticated compared to the Original Soundtrack versions anyway. Dark Chronicle was certainly an unusual choice to arrange, since it had a strictly average RPG soundtrack and was a game with few hardcore fans. Nonetheless, all artists involved did a wonderful job in giving Nishiura's work a complete makeover and the results are clearly excellent, save for maybe Kenji Ito's contributions. Still, despite nearly every arrangement's individual merit, the album doesn't work well as a collective whole. The transitions between each style of music are often unflattering and disorientating, meaning it takes a little while to get used to each piece when they play. Furthermore, the opening track provided a misleading introduction to the album and the closing track felt very unfinished, meaning the track listings could have benefited from some rearranging in order to be more effective. Still, as far as collaborative arranged albums go, there are few that manage to be as creative and unusual as this one, and its consistency is impressive, too. With it being readily available to buy, anybody looking for something nourishingly different ought to seriously consider purchasing this awesome hidden gem.